Ryan Curtis' practice of sculpture and installation operates at the edge of existence, creating an almost in-between state that paradoxically insists on a more solid importance to be placed upon the object. Using found materials of personal significance with a distinct aesthetic flavour, Curtis’ work explores the paradox of revolutionary ideology and utopian dreaming using a darkly satirical and self referential humour.

Using film, sculptural installation and other objects, There is great chaos under heaven... references aesthetics from bolshevik constructivism, mid to late 20th century blockbuster science-fiction film and nuclear post-apocalyptic representations. The precarious qualities of balance situate the work on the precipice of existence, highlighting its inherent futility.